Review of Judas and the Black Messiah (2021) by Megomike — 15 Feb 2021

Judas and the Black Messiah is a look into the lives of Fred Hampton, Chairman of the Illinois Chapter of the Black Panthers, and Bill O’Neal, the man who betrays him to the FBI. Judas shows us the charisma of Hampton, leading both through inspiration and politics, to become the symbol of power and strength suddenly feared by white government.

As his star rises, the fortunes of Bill O’Neal fall, and he becomes entrenched in the schemes against the Black Panther movement and a plot to silence the growing influence of Hampton. Judas illustrates the rise and fall of Gods and Monsters, in an era where normal men were both, largely by circumstance.

Judas and the Black Messiah is written by Kenny and Keith Lucas (21 Jump Street), written and also directed by Shaka King (Newlyweeds, Mulignans). It Stars Daniel Kaluuya (Get Out, Black Panther) as Chairman Fred Hampton of the Illinois Black Panthers, and LaKeith Stanfield (Knives Out, Selma) as his duplicitous Chief of Security Bill O’Neal.

Other notables include Jesse Plemons (The Irishman, Game Night) as FBI Agent Roy Mitchell, Dominique Fishback (Project Power) as Deborah, Algee Smith (Detroit) as Jake, Darrell Britt-Gibson (Three Billboards) as Bobby Rush, and a disturbingly supremist J.

Edgar Hoover portrayed by Martin Sheen. The Trial of the Chicago 7 identifies Hampton as Bobby Seale’s choice of attorney, largely unavailable for being in prison. The early part of Judas gives us some insight into what was happening with Fred at that time, closing important loops in both stories.

Bill’s story starts out in a seemingly simple manner that becomes more complicated. An innocuous barroom car theft scheme soon gets spun into federal charges, putting Bill unexpectedly into the control of Agent Roy Mitchell.

With each ask of the FBI, Bill positions himself deeper into the Panthers, escalating his stature to Security Chief, gaining their trust. Ultimately, that trust demands the highest price. This film is about normal human beings leading remarkable lives in complicated circumstances.

Each character is delicately painted within the frame of the confusion and uncertainty of 1960s civil rights. Deborah sees the light and leadership of Hampton’s imposing Chairman, but questions the violent nature of his message as parenthood looms.

Agent Mitchell devolves from appreciation for O’Neal’s service, and even his friendship, to a cold focus on objectives, largely defined by the supremacist figure of J. Edgar Hoover. O’Neal himself struggles with his ever-growing role in the demise of Hampton and the Panthers, to the point of assassination.

But he takes the money, and the guilt that goes along with it. He is an expert in both his roles. The star here is Daniel Kaluuya though, as the larger-than-life Fred Hampton. This is an Oscar worthy performance by Kaluuya, gracefully walking the tightrope between the energy of an inspirational leader, the anger of a man that exists in a reality of loss, and the conscience and gentility of a community servant.

He encourages power and action, but not at all costs, and the actor allows us to admire the personality and leadership of a merely 21-year-old Hampton. As a historical drama, and a character study, Judas and the Black Messiah is both socially relevant, and highly entertaining, and I give it 4 out of 5 Stars.